14:14, 13 October 2012 - Monoskop

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Farocki: A Filmography 351 1992 Videogramme einer Revolution (Videograms of a Revolution) director, scriptwriter, commentary Harun Farocki, Andrei Ujica translation Nathalie Roth (German) graphic artist Hauke Sturm, Angela Zumpe, Peter U. Petersen editor Egon Bunne assistant Beate Ochsner (Germany), Velvet Moraru (Romania) narrator Thomas Schultz production Harun Farocki Filmproduktion, Berlin, Bremer Institut Film/Fernsehen Produktionsgesellschaft mbH, Bremen, with financial support from Berliner Filmförderung producer Harun Farocki executive producer Ulrich Ströhle length 106 min. format video, transferred to 16 mm, col., 1:1.37 first screening 12.08.1992 Locarno (International Film Festival) German premiere <strong>14</strong>.11.92 Duisburg (Duisburger Filmwoche) first release 06.05.1993 first broadcast 20.12.1993, West 3 German Film Board classification Prädikat ‘Wertvoll’ (of high artistic quality and social relevance) Kamera und Wirklichkeit director, scriptwriter, commentary on the podium production Harun Farocki, Andrei Ujica Harun Farocki, Andrei Ujica, Andrei Plesu, Friedrich Kittler, Manfred Schneider, Peter M. Spangenberg SWF, Baden-Baden, in collaboration with Harun Farocki Filmproduktion, Berlin, for arte, Straßburg
352 Harun Farocki producer Harun Farocki TV-producer Ebbo Demant length 120 min. (SWF-version); 186 min. (arteversion) format video BetaSp, col., 1:1.37 first broadcast 07.12.1992, SWF 3; 22.12.1992, arte 1993 Ein Tag im Leben der Endverbraucher (A Day in the Life of the End-User) director, scriptwriter, compiled by assistant collaboration video cut production Harun Farocki Aysun Bademsoy, Michael Trabitzsch Annabel Faroqhi, Elke Naters, Christian Petzold Max Reimann Harun Farocki Filmproduktion, Berlin for SWF, Baden-Baden and WDR, Köln Harun Farocki Aysun Bademsoy Ebbo Demant 44 min. producer executive producer TV-producer length format video BetaSp, col., b/w, 1:1.37 first broadcast 24.06.1993, ARD 1994 Die Umschulung director, scriptwriter assistant director cinematographer editor sound assistant producer production Harun Farocki Ronny Tanner Ingo Kratisch, Thomas Arslan Max Reimann Klaus Klingler Aysun Bademsoy, Anna Faroqhi, Elke Naters SWF, Baden-Baden, Harun Farocki Filmproduktion, Berlin Harun Farocki Ebbo Demant 44 min. producer TV-producer length format video BetaSp, col., 1:1.37 first broadcast 09.06.1994, ARD
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FILM CULTURE IN TRANSITION Harun Fa
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Harun Farocki Working on the Sightl
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Contents Introduction Harun Farocki
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Contents 7 From the Surveillance So
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Harun Farocki: Filmmaker, Artist, M
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Image In(ter)ventions
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44 Harun Farocki perpetual state of
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46 Harun Farocki missing, and Bauma
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48 Harun Farocki the status of an a
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50 Harun Farocki Becoming Interchan
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52 Harun Farocki tory. The techniqu
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54 Harun Farocki 5. Conny Voester,
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56 Harun Farocki imparted and secur
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58 Harun Farocki ing oriented to an
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60 Harun Farocki tion of work, and
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62 Harun Farocki temporal one, beca
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64 Harun Farocki act: a twofold tho
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66 Harun Farocki these temporalitie
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Passage along the Shadow-Line: Feel
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78 Harun Farocki dance competitions
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80 Harun Farocki [W]hy does dramatu
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82 Harun Farocki cannot know how th
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84 Harun Farocki if today televisio
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86 Harun Farocki managed to maintai
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88 Harun Farocki there in a pinstri
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90 Harun Farocki off his cap, pulls
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Between Wars, Between Images
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96 Harun Farocki by Alfred Sohn-Ret
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98 Harun Farocki ‘disappears from
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100 Harun Farocki cal perspective).
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102 Harun Farocki Farocki’s film
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104 Harun Farocki Voice of Robert:
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106 Harun Farocki rents out a cinem
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Dog from the Freeway Harun Farocki
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Dog from the Freeway 111 In the win
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Dog from the Freeway 113 however, d
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Dog from the Freeway 115 The spark
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Dog from the Freeway 117 This wisdo
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Dog from the Freeway 119 The villag
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Dog from the Freeway 121 peace, the
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Dog from the Freeway 123 MACV NLF P
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Dog from the Freeway 125 there is b
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Dog from the Freeway 127 published
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Dog from the Freeway 129 thought of
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Dog from the Freeway 131 ‘For rea
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Political Filmmaking after Brecht:
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ack to the 1960s is necessary, when
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The Road Not Taken: Films by Harun
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164 Harun Farocki with Peter Nestle
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166 Harun Farocki why were there so
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168 Harun Farocki thus strikes at t
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170 Harun Farocki shard that finall
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172 Harun Farocki In the laboratory
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174 Harun Farocki This is, of cours
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Making the World Superfluous: An In
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Reality Would Have to Begin Harun F
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Reality Would Have to Begin 195 The
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Reality Would Have to Begin 197 the
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Reality Would Have to Begin 199 in
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Reality Would Have to Begin 201 roo
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Light Weapons Tom Keenan ... Scan F
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Light Weapons 205 pressed together.
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Light Weapons 207 ment’s opening
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Light Weapons 209 3. The image is a
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The Political Im/perceptible: Faroc
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Film: Media: Work: Archive
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238 Harun Farocki 1895, the Lumièr
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240 Harun Farocki Metropolis (1927)
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242 Harun Farocki worst acts of vio
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On Media and Democratic Politics: V
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Towards an Archive for Visual Conce
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From the Surveillance Society to th
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290 Harun Farocki more important to
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292 Harun Farocki breastplates, and
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294 Harun Farocki tive’ nuclear o
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Nine Minutes in the Yard: A Convers
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Nine Minutes in the Yard: A Convers
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Page 314 and 315: Harun Farocki: Critical Strategies
Page 322 and 323: Acknowledgements The editor wishes
Page 324 and 325: Farocki: A Filmography 1966 Zwei We
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Page 332 and 333: Farocki: A Filmography 333 Die Arbe
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Page 348 and 349: Farocki: A Filmography 349 Kinostad
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Page 354 and 355: Farocki: A Filmography 355 Das Thea
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Page 360: Farocki: A Filmography 361 2002 Eye
Page 363 and 364: 364 Harun Farocki search fellowship
Page 366 and 367: Index of Names Achternbusch, Herber
Page 368 and 369: Index 369 Ernst, Wolfgang 37-38, 26
Page 370 and 371: Index 371 Lumières, Auguste and Lo
Page 372: Index 373 Truffaut, François 82, 3
Page 375 and 376: 376 Harun Farocki Das Prinzip Hoffn
Page 377 and 378: 378 Harun Farocki Nick’s Film - L
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